The virtual art exhibition Motivations Behind Le Style Mucha: East Asian Influence on Decorative Panels explores why Alphonse Mucha, working in the commercial and artistic environment of 1890s Paris, turned to Japanese and Chinese design traditions as foundational elements of his Art Nouveau style. Designed for a small museum room or university gallery setting, it brings together Mucha's major decorative series from the 1890s alongside a complementary selection of primary sources: a letter written by him and photographs of his Paris studio filled with East Asian artworks. By placing Mucha's lithographs in direct visual dialogue with primary sources, the exhibition will reveal a more complex story of cultural exchange than the familiar narrative of Japonisme has allowed. Visitors will see Mucha’s famous elongated panels, flattened backgrounds, floral motifs, and halo-like framing devices not simply as superficial ornamentation nor mere fashion, but as strategic choices aligned with his own artistic ambitions. The conclusion of this research and art exhibition is that certain Japanese and Chinese design traditions provided the formal clarity, decorative unity, direct cultural exposure and accessibility, commercial adaptability, symbolic resonance, and structural flexibility necessary to realize Mucha's vision of a modern, spiritually elevated decorative art.

How does spatial memory form through embodied movement and perception in a city, and how might computational design make this dynamic process visible? Invisible City explores this question by simulating three modes of urban movement, each grounded in a philosophical framework: wandering (Benjamin's flâneur), walking (de Certeau's pedestrian tactics), and dwelling (Heidegger's notion of inhabiting space). These modes propose that memory accumulates, fades, and distorts through embodied experience—shaped by the rhythms and textures of moving through space. The project generates a city of pedestrian typologies using shape grammar in Grasshopper and renders it in Unity 3D as a sparse point cloud, a form whose ghostly visual character mirrors the instability of memory. A dual-screen installation presents two perspectives simultaneously: a first-person traversal where only perceived space is rendered, and a top-down memory map that evolves in real time, with locations brightening or fading based on mnemonic weight. Drawing on Kevin Lynch's theory of imageability and Aldo Rossi's conception of the city as collective memory, Invisible City uses computational simulation as a medium for understanding how cities are experienced, remembered, and forgotten.

SPECTER is a research-driven narrative horror game that aims to explore how inherited culture and myths can be manifested in the 21st century, utilizing contemporary technologies/media. SPECTER serves as a means to engage younger audiences (gamers) by offering an immersive experience in which they can learn about a specific culture and its folklore stories. By immersing the individual within the experience, the research becomes something that is not only learned, but also is felt. SPECTER primarily concentrates on the myth of La Llorona. La Llorona serves as a catalyst that navigates this research-driven game. The game aims to focus on themes of mental health, surveillance, and folklore. This video game aims to manifest folklore tales into something contemporary and reflective of the current state of the world. SPECTER focuses on a closed-space narrative horror experience that amplifies some of the core themes the research heavily focuses on. You play as a detective trapped inside a police cruiser, guiding your partner through different locations of interest in various regions throughout Mexico via surveillance cameras and commands. The detective and their newest partner must investigate numerous reports and sightings and uncover the truth of what is truly going on across Mexico. As you progress, you will also begin to uncover the internal influence for the main character’s story, their actions, and their resolve.